London Fashion Week: Erdem Spring/Summer 2012

Erdem Moralioglu, with his self professed aesthetic of ‘accidentally beautiful’, hit the runways of London Fashion Week this afternoon. Beginning with a color story of icy blues, I feel as if I have fallen into the English countryside circa 1954; with the obvious 1950’s silhouettes of natural waists, full skirts, and sheaths, and paired with his latest floral motif.

For the most part this collection was in unison with his rhythm. However, when a designer doesn’t follow trends, but rather sticks to a specific look, in this case Erdem’s signature floral, over time it has the potential to become monotonous. Basically, creating tunnel vision design, not allowing the movement forward within the aesthetic. I don’t know is Erdem is quite nearing stale, however, parts of the collection seemed contrived for his famed clientele (such as Michelle Obama and Kate Middleton) and what I may call bordering on un’Erdem’ian.

That being said, I truly enjoyed the tip of the hat to Mary Poppins, and the touches of whimsy of the inspired accessories.

With addition to the whim, I really adored the use of sheers in Erdem’s collection. The textiles were so soft and elegant, creating a surreal extension of their skin.

Lastly, it needs to be said, I have fallen in love with the layered lemon chiffon frock; I want to put it on, and sit it in a tall, luscious grass field, freckled with lobelia erinus.

I suppose I will have to settle for tonight in my dreams….

Vancouver 2010 Olympic Costumes

For the Vancouver 2010 Olympics, I was contracted by Yumi Eto (Head Designer at Aritzia), on behalf on VANOC as a sewing contractor for the Olympic Medal Bearer and Athlete Escort Costumes.

The following is an excerpt on Blanche Macdonald Centre website, written by Robert Collins:

“As one of Canada’s top Fashion Schools, VANOC called on Blanche Macdonald’s fashion skills as well. Looking for Vancouver-based talent, designer Yumi Eto had contacted Fashion Program Director Peggy Morrison before the Games. Peggy recommended Fashion Design graduates Amanda Montgomery, Mickelli Orbe, Jillian Rothert and Sayaka Toyoda, who were hired as sewing contractors to work on the indoor medal bearers’ Heritage Sweaters, the outdoor medal bearers’ toques, and the caged petticoats on the athlete escorts’ costumes.

“My tasks included weaving the colours into the sweaters,” explains Amanda Montgomery. “Blues, browns, teal and orange – and finishing the details for each sweater.

“Yumi Eto, the designer for this project with Aritzia, had contacted me personally for this project as I had been recommended by the staff at Blanche Macdonald. The highlight of this experience was working and learning under Yumi. She has an incredible eye for design, and her immaculate attention to detail was great to observe and learn from. It’s really been the most rewarding experience, and I’m truly grateful!”

Medal and flower bearer, indoor: “The Heritage Sweater” — Inspired by the knit and woven heritage of Canada’s First Nations artisans, each sweater is original, hand-knit and finished with a color palette influenced by the sky, forest and ocean.  Complemented by a hand-tooled belt embossed with First Nations artwork, silk embroidered scarf in hues representing the flags of all nations, and Royal Canadian Mounted Police boot.

Medal and flower bearer, outdoor: “The Cocoon Parka” — Reflecting the subtle hues of a night sky and the sculptural shape of a cocoon, the parka features corset-style seaming and interwoven blues in a subtle plaid.  Complemented by a cobweb-influenced scarf interlaced with leaves and foliage, a heritage toque updated with brushed gradients of blue hues, vintage knit ski top and pant, and RCMP boot.

Athlete escort/indoor-outdoor: “The Vintage Ski Coat” — A vintage-style ski coat, accented with sport detailing in the seaming and finishing, is hand-flocked with the art of the medals created by a renowned Canadian First Nations artist.  Complemented by a caged fringe reminiscent of First Nations costumes, cracked-ice hat and scarf mimicking ice veins illuminated in clear blue water, and RCMP boot.

Image via Wikipedia

While at Aritzia, I began working on the “Heritage Sweaters” (Left). in the chunky knit, we wove dyed raw wool (by artisan yarn company local to Vancouver Sweet Georgia by Felicia Lo.) The wool was dyed in the ‘Sea-to-Sky” color palette, consisting of blues, teal, orange, grey, browns and cream. Most of our time was spent on these sweaters, stabilizing the fit, the wool accents, etc. However, we were able to contribute some work to the other 2 costumes. “The Cocoon Parka” (Middle) –I assisted in the construction and the felting process of the toques as well as creating the scarves. “The Vintage Ski Coat” (Right) — I was involved with some of the preliminary work of the flocking, and I assisted in cutting the caged underskirt. I also attended and assisted at fittings in both Whistler, and the RCMP Headquarters in Vancouver.

My Venture Into Menswear

In the past few months  I have moved to Hamilton, ON. I am excited about new beginnings and fresh opportunities. Something I have begun to realize during my brief time in Hamilton, is that there is an fantastic emerging art scene. There is an art crawl every month on James St., where the street is filled with local creations and art, performing arts and visual.

Since my decision to stay here, I was asked by friends of mine, Brad Melle and Evan MacAlpine  (of the Hamilton Electronic band Allosaurus), to design their stage attire.

Their brand new, debut album “Old Solar” is incredible, and definitely worth a listen.

Now, as I am trained in woman’s wear, and have yet to venture out of that, I was intrigued, and maybe a little nervous about this proposal. So I started hardcore research mode! The only specifications that were given to me, was that they wanted 50s style fitted suits. The first thing that popped into my mind was to trim the lapels and hem of the suits in contrast white. And then I was thinking of Buddy Holly for inspiration. (But keeping in mind, I didn’t want the suits to be TOO Buddy Holly).

So I began researching pattern drafting for men’s suits. And after many hours of dead end searches, I came upon the book “Il Modellismo: Tecnica del Modello Sartoriale e Industriale” by Fernando Burgo. And it was in Italian, but of course!! So I had to find an English translation. Then, being European, the instructions are all in metric, and of course, I work in imperial. So the book was translated and converted. And then after great lengths I was ready to begin.

So, I invaded my new friend’s large kitchen table to begin the pattern drafting! (Thanks guys) I decided to draft a classic fitting suit, then as I made the muslins, and had the first fittings with the guys, I could pin out a more fitted look. As I constructed the muslins, I was shocked to find, they actually looked like SUITS!

The first fitting, went really well. besides the fit, there was no major alterations needed. So I went back to the patterns to make the alterations from the muslins. And then I began to draft the finishes like lining and seam allowance, etc.

I have begun cutting the fabric, next week I am going to begin sewing!!

to be continued…

Hanasakajijii Spring/Summer Collection

This is my portfolio from my grad collection:

The I designed portfolio exterior as an elongated, slender silhouette, to reflect trees in a forest. The collection logo I designed on Photoshop, I incorporated the Title of the collection on the lengths of the branches. After I had designed what I wanted, I went to the company Shrapnel Designs, in Vancouver. (http://www.shrapneldesign.com/) They make custom portfolios, menus, etc. They were amazing to work with. We chose bamboo for the exterior to keep with the earthy feel. And then they used a burnt etching technique, to incorporate my logo on the front. They had to custom make the medal binding, as they had never made anything with these proportions.

I created the logo for my design label ‘Amanda Montgomery’, beginning with the medium gouache on watercolor paper, I created the ‘M’. I then took a photo with my iPhone and uploaded it to Photoshop, where I adjusted the contrast and saturation. The font I chose to complete the logo is sans serif called ‘Champagne & Limousines’ by Lauren Thompson.

For my fabric swatch page I painted a black tree in india ink, on papyrus paper. I then cut out shapes of leaves with my Xact-o knife, and mounted the fabric from behind. For my color story I used moss greens, chartreuse, vibrant plums, and black. As I was creating a collection inspired my ethereal forests, I chose to use natural fibres, sticking mainly to silks (Duchess Satin and Dupioni) and crepe wools.

Looks 1 & 2 are from the Separates group. Look 1 (Left) is a chiffon ruffled halter top. Topped with a cropped silk capelet. This is paired with one-legged pants with asymmetrical draped skirt, and a, exposed zipper running down the front of the leg.   Look 2 (Right) is a silk romper, with a hand-painted ‘moss’ lace. This is topped with a silk cropped jacket with a magyar sleeve.

Look 3 is an asymmetrical neckline top. The texture of the top is achieved through crystal pleating. 2-tones of chiffon are used in the top, which is paired with a skinny satin pant.

Look 4 is a one-legged jumpsuit with a asymmetrical draped skirt. This garment features a heart neckline and is made of a chartreuse, silk dupioni. It has an industrial exposed zipper running from the neckline down the front leg.

Look 5 is a heart neckline bustier and tucked bermuda pants both in chartruese silk dupioni. Topped in an asymmetrical, plum-colored silk dupioni over sized shirt.

Look 6 has a 50’s inspired silhouette. In black Duchess Silk Satin, this cocktail dress features a boat neck, and a full skirt. The free hanging panels are also made of the Duchess Satin, atop hand-painted Vera Wang lace. (To give it a ‘moss-like’ texture).

Look 7 is a layered silk organza cocktail dress.

Look 8 is in chartreuse silk dupioni the dress is draped and tucked, with plum colored organza bondage. The juxtaposition of the soft and the harsh seen in the lines of a forest.

Look 9 is a boat necked, sheath dress in Black Duchess Satin, and features an oval open back. The free hanging panels form a peplum of silk dupioni.

Look 10 is constructed similarly to the top in Look 3. It has an asymmetrical neckline, and is 2 tones of chiffon, with the texture achieved through crystal pleating.

Look 11 is a heart neckline gown. The heart neck bustier is made of hand-painted Vera Wang lace. The skirt of the gown gets its texture through the Japanese art of pleating and manipulation known as Shibori.

Look 12 is a gown of layered chartreuse organza.

Look 13 is heart neck bustier with a plum colored dupioni, underskirt. The detail along the sides and back are free hanging panels in black Duchess silk satin, same as the bustier.

Look 14 is an asymmetrical gown. The bodice of the gown is a one-shoulder, draped and tucked silk dupioni, with plum organza bondage. The skirt is constructed in silk dupioni, as well. Using a layering technique, and creating a silhouette of the skirt to be asymmetrical as well, being knee length in the front, and floor length in the back.

Look 15 is a black Duchess silk satin with a heart neckline. The skirt of the gown gets its texture from the technique called Shibori (Similar to Look 11). The topper is created to look like a “Waves” over vest. I used a fabric called FOSSHAPE. (see previous post for details) It was heat set to form to the bodice, and to create the shape of the waves. Then I covered it in hand painted wool crepe.

Line & Form Fashion Show 2009

In 2009, I graduated from Blanche Macdonald Centre (Vancouver) in Fashion Design. This is my debut grad collection:

For this collection I designed 15 looks, and actually made 3 of them.

I drew inspiration for my first collection from the mythical forest of “Where the Wild Things Are” and the Japanese folklore tale Hanasakajijii. From my inspiration I achieved my color story, shape and silhouette. I wanted the structured lines of branches juxtaposed againts the softness of the draping moss.

My first look is a chartreuse one-legged jumsuit, with a heart neckline. The fabric I chose for this jumpsuit was silk dupioni, as it has a real raw texture, which correlates with the organic inspiration of the forest. I created a draped asymmetrical skirt on this jumpsuit, to capture the lightness of moss. A fun yet functional detail I added was the exposed industrial zipper running through the apex down the front of the leg.

My second look is a boat neck, cocktail dress. The fabric I chose is black duchess satin. For the underskirt, I hand painted Vera Wang blush lace, to give it the appearance of pressed moss. Again, the free hanging satin panels against the ‘moss lace’ creates the contrast cohesive to my inspiration.

And for my third and final look I created a gown. The gown itself is made of Black Dutchess Satin. It is a strapless heart neckline. The skirt of the gown was created by using the Japanese art of pleating known as Shibori.

Basically, I ran hundreds of basting stitches through the length of the fabric. and then I pulled the stitches tight, gathering all the fabric. I then proceeded to soak the fabric in water for a few hours, and then hung to dry for several days.

For the “Waves” over vest, I ordered this material from Hollywood called FOSSHAPE. It is an unique, non-woven, heat-activated fabric used in costuming.  In essence, it’s a thick material that looks like felt, and when heat or steam is applied, it can be formed or molded, and then it hardens to the shape. This material can be painted or decorated. I chose to cover it in hand painted wool crepe.

Of my collection of 15, I decided to create 3, one group each group (Separates/Jumpsuits, Cocktail Dresses, & Gowns). My debut collection was one of whimsy. I wanted to push the envelope of silhouettes. I used lines, colors, and textures to create the juxtaposition I was inspired and intrigued by.